DUBAI: There’s a scene early on in “Love & Revenge” that epitomizes the poignancy in Rayess Bek’s and Randa Mirza’s audio-visual ode to a cultural golden age - clips of classic Egyptian cinema set to contemporary electro-pop reworkings of vintage Arab songs.
In a sequence of scenes taken from Hussein Kamal’s 1969 film “Abi Foq Al-Shagara,” the Egyptian star Abdel Halim Hafez poses self-consciously in front of a camera in Baalbek, Lebanon. With him is the actress Nadia Lutfi. As their love affair unfolds on screen, they laugh and embrace and kiss. All is set to Bek’s masterful reworking of Mohamed Abdel Wahab’s “Ya Msafer Wahdak,” sung by Nagat Al-Saghira.
It’s a sad piece of film to watch. Not because of its beauty, innocence or freedom, or because of the snapshot of an unspoiled Lebanon that it provides, but because you know, deep down, that nothing like the original film or music can ever be created again.
At the heart of “Love & Revenge” is the realization that the Arab world seen through the prism of the golden age of Egyptian cinema bears little or no resemblance to today’s world: A world in which expressions of love, romance and sexuality have been effectively erased. As such, “Love & Revenge” can be viewed as an attempt to reclaim a more liberal past; one where Hafez is free to embrace Lutfi on screen at will.
Created by Bek, a former Arabic hip-hop trailblazer turned audio-visual collaborator, and Mirza, a video artist, “Love & Revenge” was at the Louvre Abu Dhabi for two consecutive nights last week, and brought with it a keen sense of nostalgia.
Even the title is important, taken as it is from Youssef Wahbi’s 1944 film “Gharam Wa Intiqam” (Love and Revenge), the last movie to feature the singer and actress Asmahan, a Druze princess who died in mysterious circumstances before the film was finished. It is Bek’s mid-tempo, beat-heavy reinterpretation of Asmahan’s “Emta Hataraf” that is arguably the project’s standout track.
Yet, for all the perceived freedom depicted in “Love & Revenge,” with the possible exception of Asmahan the movie scenes chosen by Mirza represent a man’s vision of women. Even now, that cinematic vision is only slowly changing.
Interview with the director and stars of ‘The Lion King’
Jon Favreau, Chiwetel Ejiofor, Seth Rogen and Billy Eichner discuss Disney’s latest blockbuster remake.
‘We’re trying to live up to people’s imagination of what they remember ‘Lion King’ being,’ says Favreau.
Updated 52 min 33 sec ago
DUBAI: There are few movies as resonant as Disney’s 1994 classic “The Lion King.” From its beautiful animation and memorable songs by Hans Zimmer and Elton John to its devastating emotional punch, the film has become a touchstone for an entire generation, one of the few films that unite nearly every person who has seen it across the world.
Now, 25 years later, director Jon Favreau (“Iron Man,” “The Jungle Book”) has brought “The Lion King” to life again for a new generation. Sitting in London, the first thing Favreau asks Arab News is whether we were part of the “Lion King” generation, and we were, mentioning to Favreau just how expansive the film still feels to us.
“That’s part of the challenge here! We’re trying to live up to people’s imagination of what they remember ‘Lion King’ being. We would watch it next to one another and there’s certain sequences that hold up incredibly well that we tried to follow shot-for-shot like (the opening sequence) ‘Circle of Life,’ but there’s other areas where we had the opportunity to update it and make it feel a bit more grounded in reality,” Favreau tells Arab News.
Remaking it for a new generation seems obvious, but — to borrow from another Disney classic — it was a Herculean task for Favreau and the huge animation team that supported him. This version remains fully animated, but uses cutting-edge technology to make the entire film photo-realistic. The characters, story, and songs remain, but the film looks more like a David Attenborough nature documentary than an animated movie.
It wasn’t just the technology that proved challenging, either. Making sure that audiences still connect with these beloved characters without the expressiveness of classic Disney animation was something that gave Favreau pause.
“I worked on ‘Jungle Book,’ so I had some experience in this area,” he says. “Pretty early on, we got to try some different things and when you go to human, you think it would make you feel more but it really feels kind of bizarre, at least to me. I was limited if we were to go photo-real. If you go stylized like Pixar it’s great, you can do whatever you want. If we go ‘Madagascar’ you can make them stick their tongues out. The minute you start hitting photorealism, you hit the uncanny valley when you push the performances beyond what the real animal could do. Part of what makes it look so real is we limited what we allowed the animators to do.”
To be sure that audiences would connect with the characters, Favreau relied a lot on the voices that supported them, bringing in an all-star cast including Beyoncé as Nala, Donald Glover as Simba, Chiwetel Ejiofor as Scar, and Billy Eichner and Seth Rogen as Timon and Pumbaa.
“If you look at a character like Pumbaa, to me he’s the most fun example, because when people saw pictures of Pumbaa they were like, ‘Oh my god! That’s horrifying! That thing looks like a monster!’ But when you watch the movie and you hear Seth Rogen’s voice coming out of it and the way the animators animated his body and what the character represents and feels, you have a tremendous connection to it. It’s a testament to the power of using techniques that we borrowed from documentaries or other films, where we limit ourselves to not anthropomorphize the characters,” says Favreau.
Eichner and Rogen both tried to remain true to the characters, but also stay true to themselves. “My idea from the beginning was that Jon cast us for a reason,” says Eichner. “He could have cast pretty much any actors. Anyone would have killed to do these roles and be in this movie. It wasn’t the right time to try a new persona. It would have been very strange had I all of a sudden had a deep resonant baritone. I figured he wants Seth to sound like Seth and me to sound like me — or at least what our public comic personas sound-like — and hopefully they’ll complement each other, which they did. Our goal was not to try a new character but to be as funny as possible together.”
As funny as Rogen and Eichner are in the film, it is still aimed firmly at kids — something Rogen hadn’t really considered prior.
“It wasn’t something that even occurred to me until we were making the movie and I was performing the bully scene,” he says. “I was like, ‘Oh, this is for kids!’ I have never done anything that was ever trying to instill any wisdom into kids in any way shape or form.”
The film’s wisdom, like the original, is far-reaching, exploring truths not only of family and loss, but of the corrupting nature of ambition and power, which Ejiofor explored in his role as Scar.
“Often, when people are obsessed with power and status, they aren’t really worried about what they do with it, they’re just concerned about getting it. It’s not something that’s connected to any kind of nurturing aspect for a community or anybody else. It becomes about the nature of obsession — obsession with power and status, and maybe status more than power, even though they are related,” says Ejiofor. “That’s one of the things that’s engaging and fun about the film and its themes.”